Review: Studio Chizu’s The Boy and the Beast

The Boy and the Beast is directed by Mamoru Hosoda (Summer Wars, The Girl Who Leapt Through Time) and tells a tale of two realities, jumping between the rustic, fantastical world of the Beast Kingdom and the bustling chaos that is modern day Tokyo. Anime films seem to be enjoying a new wave of success, between the popularity of Your Name (directed by Makoto Shinkai, 2016) and the resurgence in interest surrounding Ghost in the Shell (directed by Mamoru Oshii, 1995) and its recent live-action remake. Originally released in Japan in late 2015, The Boy and the Beast has already won acclaim at home, as well as in the United States and Canada.

In the Beast Kingdom, lords can become gods, but in order to become a lord, Kumatetsu must take on a pupil and train them in combat. With seemingly nothing left for him in the human world, Ren – later known as “Kyuta” – inadvertently finds himself under Kumatetsu’s wing, much to each of their reluctance. The film’s plot takes some unpredictable turns, as well as others that fit into the classic children’s fantasy genre. As a result, the film is not necessarily challenging to watch, yet retains the viewer’s attention throughout. The Beast Kingdom recalls the magical realism that appears in many Studio Ghibli films (such as old favourites from Hayao Miyazaki, including Spirited Away and Howl’s Moving Castle), in which children are swept from their everyday lives and into worlds of adventure and infinite possibility where, ironically, everything makes much more sense than in the real world. The contrast between this setting and the hectic streets of Shibuya brings The Boy and the Beast into the sphere of modern life, and each challenges Kyuta to become stronger – in more ways than one.

As well as fitting into a niche genre, The Boy and the Beast is also a magnificent cinematic experience in its own right, with its colourful animation style and powerful sound design. As Kyuta moves between crowded streets, intense combat scenarios and hushed libraries, the film’s manipulation of sound definitely lends to the world’s unwavering sense of reality and allows for a heightened suspension of disbelief. The animation style is vivid and energetic, especially showcased during the battle scenes between Kumatestu and Kyuta, as well as his main rival, Iozen. The sound and art style help invest the viewer in both worlds, just as young Kyuta stumbles from the dark, gloomy alleyways of Shibuya into the vibrant Beast Kingdom.

It is to be expected that the narrative form differs from that of typical Western animation, as certain plot points are arguably quite jarring. These can leave the viewer feeling slightly cheated, as The Boy and the Beast takes the time to set up the scenario of young Kyuta struggling to adapt to life with Kumatetsu, then the film makes a 180 degree turn. As well as including a considerable time jump, Kyuta’s aspirations also change as he grows. The downfall of this upheaval is that the film is quite long, but strong writing and character design prevent the tension from sapping. This departure from narrative norms also depicts a more genuine version of life and more satisfying, realistic character development. As Kyuta grows as a character, his desires evolve alongside him, and it becomes clear that the world is not always as it seems.

Every genre needs to adapt from time to time, in order to appeal to modern audiences, and The Boy and the Beast does this seamlessly. Hosoda manages to combine elements of traditional fantasy with more contemporary themes and images, resulting in a modern take on a classic form. Despite these updates, The Boy and the Beast remains a timeless tale of a young person’s coming of age – with the added complexities of discovering a fantasy world.

The Boy and the Beast is due for general release on Friday, 28th July 2017.